Review: Chuck Ragan – Till Midnight

Chuck Ragan - Till Midnight
Gregory Robson

Four albums into a much-lauded solo career, Hot Water Music frontman Chuck Ragan continues to churn out masterful Americana music and if you need further proof, give yourself an hour and spend some time with Till Midnight. 

Though many might argue otherwise, an album opener should be the creme de la creme, after all you only get one first impression. Ragan is fully cognizant of just that and puts his best foot forward on the rousing singalong “Something May Catch Fire,” a heartland rocker culled straight from the Springsteen playbook. Jon Gaunt’s triumphant fiddling and a hip-shaking chorus cement the track as one of Ragan’s best to date and serve as a sparkling start to an album that is worth many repeated listens. 

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Review: The Menzingers – Rented World

The Menzingers - Rented World
Thomas Nassiff

LP4 is a huge hurdle for The Menzingers. Whenever a band goes up against themselves, it’s an enormous test of their staying power and ability to grow within their own sound. The popularity and cult-like adoration surrounding 2012’s On The Impossible Past makes it obvious that The Menzingers are The Menzingers’ biggest competitors when it comes to Rented World, as the questions surrounding this release view it pointedly as a “follow-up,” and whether that follow-up could possibly meet lofty expectations. 

This is fair and unfair for the Scranton, PA quartet. When I reviewed Transit’s Young New England, and completely trashed that album, I wrote that the band had set a standard for excellence in the past – a standard that I held them to with their new work. The Menzingers are in exactly the same boat. At the same time, it’s daunting to give an encore to an album as holistically spectacular and sweeping in nature as the Americana-tinged, story-telling punk rock that Impossible Past offered us; as vocalist and guitarist Greg Barnett explained to Exclaim! Magazine, “…when we first started writing, even the first note, it was like, ’Oh, where do we start?’” [Italics added for emphasis.]

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Review: Noah Gundersen – Ledges

Noah Gundersen - Ledges
Craig Manning

There’s a moment near the beginning of Noah Gundersen’s fantastic debut album, called Ledges, where the singer/songwriter just lets loose. The song in question, a traditional Appalachian folk-like reverie called “Poor Man’s Son,” dwells for most of its runtime in a stripped down a cappella setting, Gundersen’s voice melding with his sister’s to create a sound that is instantly timeless. It feels like something that should have been on one of the T. Bone Burnett-helmed Coen Brothers soundtracks, Gundersen’s voice and style leaning more toward the recent Inside Llewyn Davis and his sister Abby’s Emmylou Harris impression – not to mention the song’s decision to directly quote from “Down in the River to Pray” – coming more from the fertile traditional music ground of O Brother Where Art Thou. The combination, frankly, is every bit as stunning as it sounds, with lyrics like “I’ve got money for food and a little bit of gasoline” gliding out like something that would have sounded equally at home in the Great Depression as it does in the current economic recession.

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Review: Taking Back Sunday – Happiness Is

Taking Back Sunday - Happiness Is
Drew Beringer

You can describe the Taking Back Sunday fandom by imagining a simple Venn diagram: one circle contains fans who only enjoy the Tell All Your Friends version, the other full of fans that prefer the band’s major label output (Louder Now and New Again). And then there’s the small intersection of fans who prefer a little bit of everything from Taking Back Sunday’s vast and diverse discography. You can see why the majority of TBS news threads are littered with hundreds of differing opinions.

The band’s sixth record, however, looks to bring those two sides together. Happiness Is is Taking Back Sunday’s first independent release in almost ten years (via Hopeless Records) and delivers that indie spirit throughout its eleven tracks. That energy is immediately felt on opening single “Flicker, Fade.” Clashing cymbals and soaring guitar chords are the backdrop as Adam Lazzara softly sings, “If you should change your name/I’d love you just the same/and if you’d run away/I’d save your place.” It’s oddly comforting, with its eruptive and incredibly catchy chorus sandwiched with the band’s mastery of soft/loud/soft dynamics. It also re-introduces John Nolan and Mark O’Connell back to the mix. Both musicians seemed lost in the overall recording of Taking Back Sunday, and on “Flicker, Fade,” Nolan delivers his impassioned yells (which buoy the song’s chaotic outro), while O’Connell’s raucous drumming gives the track (and the rest of Happiness Is) its spine.

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Steve Klein Arraigned in San Luis Obispo Court

Legal
Jason Tate

Idobi has learned and reported that Steve Klein (ex-New Found Glory) was “arraigned (on December 12, 2013) in a San Luis Obispo court on multiple charges, including lewd conduct with a minor under the age of 14” and has pleaded not guilty.

UPDATE • March 12, 2014

We have received the following statement from Steve Klein’s (ex-New Found Glory) attorney.

It is a difficult challenge to defend oneself in the media when there is a pending criminal case. This is because people are quick to assume that if a person is charged with a crime, they are also guilty as charged. And it is especially difficult because criminal defense attorneys insist that their clients not talk about the case to ensure that their constitutional rights are protected. Furthermore, attorneys are limited by law as to what can and cannot be said about a case to the public. 

In the matter of Steve Klein, since his case has now been brought into issue by the media, I am permitted to make a few statements. To that effect, I offer you the following indisputable facts about the accusations:

1. Steve Klein is not accused of having any lewd actual physical contact with any minor. 

2. ALL charges against Steve are derived solely from online consensual video chats between Steve and some female strangers he met on an adult website. Steve believed the females were over the age of 18.

3. The females alleged to be “minors” in this case are not known females. This means that no one, not the prosecution, not the police, and not the defense, actually know who the females are and no one knows their true age. 

4. The possession of child pornography charge is based solely on Steve allegedly “possessing” the videos of chats with the female strangers from the adult website. 

This is about all I am permitted to disclose at this time. But I can tell you, from my many years of experience in this specialty area of criminal defense, I wholeheartedly believe that Steve Klein is innocent of all of these charges. 

Steve is devastated by these accusations. He has lost his band, his livelihood, and his ex-wife continues to push for full custody of his children using this case as her pawn while he literally fights for his life. Despite this heavy hand, Steve remains strong and hopeful that he will be vindicated.

UPDATE • Mar 12, 2014

New Found Glory have posted the following update:

Upon our return from Warped Tour Australia, Steve made us aware of possible allegations that might be made against him. At that point, not knowing all the details, we made the decision to part ways in order for him to deal with these personal issues. Us 4 members of New Found Glory have given our entire lives to this band and will continue to do so. We’ve been able to play all over the world for the most amazing fans. We can’t wait to get in the studio to make a new album and we can’t wait to get back on the road! Just coming off the Parahoy cruise and a surprise show in our hometown we are more inspired than ever! Thank you so much to everyone around the globe for always sticking by us. The future is bright.

This article was originally published on AbsolutePunk.net

Interview: Adam Lazzara of Taking Back Sunday

Taking Back Sunday
AbsolutePunk

On March 18th Taking Back Sunday releases its sixth full-length record so we got on the phone with vocalist Adam Lazzara to learn more about it.

When did you start writing this record?

We started writing not too long after the self-titled record came out. Just because we all live in different states, whenever we got home from tour we would get together to write and find a place that was kind of out of the way so there weren’t many distractions.

This time I noticed you went with two producers, Marc Hudson and Mike Sapone, instead of returning to Eric Valentine like you did with the self-titled.

That kind of happened haphazardly because we had done a round of demos in Michigan with Marc Hudson and then we did another round of demos in New York with Mike Sapone. When it came time to actually record the record we thought things went so well when we were demoing with those guys, so if it ain’t broke, don’t fix it. We’ve had a relationship with Mike Sapone since the band started so that is one reason we went back. As for Marc Hudson he’s been touring with us for years so it was just two guys we felt really comfortable with because they were our friends first. There really wasn’t much of an outside influence.

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Review: Modern Baseball – You’re Gonna Miss It All

Modern Baseball - You're Gonna Miss It All
Thomas Nassiff

I really, really don’t like the term guilty pleasure. I think it’s a dirty phrase that’s used too often by people who don’t feel guilty at all about liking whatever they’re talking about. I used to describe the Snakes On A Plane theme song as a guilty pleasure (while we’re here: that song is a undoubtedly a high in Crush Management’s dominance over the world), but then I thought about it and decided that “guilty pleasures” do not exist. 

There is a point here, hidden underneath the layers of awesome, guiltless pleasure currently filling your ears, since I’m assuming that you clicked on that link and by now William Beckett is getting into the first chorus of the Snakes On A Plane jam. For many people, Modern Baseball’s sophomore LP, You’re Gonna Miss It All, will seem like it belongs under the umbrella of things you like but deep down you’re not really supposed to like. This makes sense to me because I felt that way about the band’s debut, Sports, for a very long time. Brendan Lukens and Jake Ewald are not “technically good” at singing. Modern Baseball does not write gloriously composed instrumentals that will one day serve as a reference point upon which even more glorious songs will be written. The lyrics Lukens and Ewald belt out – sometimes loudly, sometimes softly, and sometimes mumble-y – have an expiration date on them. Case in point: The opening track, “Fine, Great,” mentions Instagram. Someday, Instagram will not exist. Probably.

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Review: Against Me! – Transgender Dysphoria Blues

Against Me! - Transgender Dysphoria Blues
Drew Beringer

Transgender Dysphoria Blues is the record Laura Jane Grace has been screaming to get out for many years. Two May’s ago, the Against Me! front woman revealed her lifelong struggle with gender dysphoria and came out as a transgender woman. After a flurry of press and support followed by a desolate and bleak recording process that almost killed the band rises an album that shuts out all the white noise and delivers the best Against Me! album ever. Laura Jane Grace has a lot to get off her chest, so it’ll be best if you give one of the most essential punk records of our era your full and undivided attention. 

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Review: Young the Giant – Mind Over Matter

Young the Giant - Mind Over Matter
Gregory Robson

Chalk this one up to pretense. 

The highly anticipated sophomore follow-up to Young the Giant’s juggernaut self-titled debut is a mixed bag of awkwardness, superfluous breathiness and more brain-wracking lyrics. Plenty might find album opener “Slow Dive,” gorgeous and inviting but really it’s a waste of 40 seconds that serves no purpose. Ditto for the punchy “Anagram,” which has a cheery chorus and a sun-drenched vibe but does very little on repeat listens. Sure, there’s moments of prettiness and the song does have its share of pleasant moments but it lingers for far too long and is only rescued by Sameer Gadhia’s otherworldly vocals. First single “It’s About Time” is even more confused as it seems to stretch the band into a genre they’re not well suited for. Equal parts garage-pop and avant-garde indie, it sounds way too much like a band trying too hard. 

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Review: Hailey, It Happens – Under the Brilliant Lights

Hailey, It Happens – Under the Brilliant Lights
Craig Manning

It’s a weird thing about being a music “critic”: you’re consistently comparing the songs and albums you hear to other icons and indices from your own listening experience and trying to decipher individual influences within an artist’s sound, but in most cases, you have no real idea whether those influences were there at all or whether the similarities you noticed were intentional. Instead, you’re left driving blind, projecting your own musical history and preferences onto the work of someone you’ve never even met or spoken to, let alone traded records with. But that’s what makes it such a pleasure when someone you know unleashes a remarkable musical work. You get to hear the music they’ve been championing to you for years – the songs you’ve shared, the musical moments you’ve both remarked upon – reflected back at you in their own musical creations. In essence, you hear the person you have gotten to know encapsulated in the words and chords of the music they write, and in doing so, you get to know that person a little bit better.

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Review: You Blew It! – Keep Doing What You’re Doing

You Blew It! - Keep Doing What You're Doing
Drew Beringer

Revival my ass. Sure, there has been a handful of think pieces and reviews lately about the “reemergence” of emo from the type of music journalist who jumps from trend to trend (or hashtag to hashtag) but honestly any fan from the scene already knows that 1. emo never went away (or will go away – just check the AbsolutePunk.net homepage the last ten years) and 2. Florida’s You Blew It! have been cranking out emo-flavored pop-punk jams over the past four-plus years, as the group’s latest album, Keep Doing What You’re Doing, expands on the band’s so-called “1999” sound. 

Hell, it was only two years ago we jokingly gave this style of music the absurd moniker “twinkle daddies.” But You Blew It! has emerged from 2012’s Cap’n Jazz-influenced Grow Up, Dude and last winter’s split with Fake Problems louder and bolder with Keep Doing What You’re Doing. Produced by Emo Mayor Evan Weiss, YBI!’s knack for loud, dissonant power chords boom throughout the record without its essential fuzziness being compromised. In fact, the production is very reminiscent of Weiss’ 2011 release, Proper, a record that did a bang-up job of balancing its stripped-down, raw moments with the louder, more frenetic ones while remaining sonically pleasing. “Match & Tinder” is a callused, aggressive opener that twitches between the rough anguish of vocalist Tanner Jones’ rasp and the wistfulness of Andy Anaya’s frantic guitar work. The pop from Timothy Flynn’s relentless snare drum paces “Award of the Year Award”’s driving heaviness as an exasperated Jones yells, “Consider me a friend, but only in the past tense.” 

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Review: Neck Deep – Wishful Thinking

Neck Deep - Wishful Thinking
Blake Solomon

As a somewhat educated apprentice of pop-punk, one inevitably asks the question, “Shouldn’t you just meet some new friends?” Lots of the problems detailed in an album like Neck Deep’s debut Wishful Thinking could most likely be fixed by a simple change of scenery. Stop talking to girls in beanies and high heels! There’s nothing cute about a Grey Goose keychain! I don’t know, we were all young and some of us always will be. And it can certainly be excruciating to be constantly reminded over smashing drums and snotty vocals that the whole world is filled with garbage people. We take public transportation and wait in line at the grocery store; we don’t need reminding.

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AbsolutePunk.net’s Top Albums of 2013

AbsolutePunk.net
AbsolutePunk

This best of list was put together by the AbsolutePunk.net staff in 2013. It used an old system for ranking albums, but has been brought over to Chorus.fm for posterity.

I’d like to formally welcome you all to the end of 2013. We thought we’d celebrate by unleashing our AbsolutePunk.net Top 30 albums of the year. Compiled from all of the AP.net staff’s EOTY lists (which will be revealed on January 6th, 2014), we’ve once again released one of the most complete and eclectic lists you’ll see from any publication. From death metal to indie to defend pop punk to #emorevival, we have it all. So I’ll shut up now and let our list do the rest of the talking – check it out in the replies. As always, your thoughts, opinions, and disagreements are welcomed. 2013 was a great year for the music world once again – here’s to 2014.

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